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Elemental Imagination and Film Experience

Climate Change and the Cinematic Ethics of Immersive Filmworlds

Ludo de Roo

. Accordingly, this originary sense of the elements offers an important film-theoretical idea: it is this foundational idea of the elements that structures the process of immersing the spectator within the filmworld. Thus extending into film-philosophy these

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Ted Nannicelli

Abstract

This article sketches a commonplace yet neglected epistemic puzzle raised by the diversity of our film-viewing practices. Because our appreciative practices allow for variability in the “instances” of cinematic works we engage, many of our experiential encounters with those works are flawed or impoverished in a number of ways. The article outlines a number of ways in which instances of cinema can vary—including, for example, in terms of color, score, and aspect ratio. This variability of instances of cinema and, hence, the variability in our experiences of a cinematic work raise potential problems around normative questions of interpretation and evaluation.

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Toward a Model of Distributed Affectivity for Cinematic Ethics

Ethical Experience, Trauma, and History

Philip Martin

Abstract

Many contemporary applications of theories of affect to cinematic ethical experience focus on its consequences for empathy and moral allegiance. Such approaches have made advances in bridging phenomenological and cognitivist approaches to film-philosophy, but miss the importance of complex affects that problematize empathy and moral judgment. For example, the rendering of trauma in Aimless Bullet (Hyun-mok Yu, 1961) involves aesthetic shifts that reframe its depiction of postwar experience and build a complex emotional picture of sociopolitical conditions that affect individual and community life. In this article, I argue that to understand the ethical significance of complex cinematic emotion we can develop an account of how affective-aesthetic affordances establish distributed spaces for dynamic affective engagement. To do this, I draw upon theories of scaffolded mind, classical Indian rasa aesthetics, and phenomenological aesthetics. This hybrid account will allow us to articulate the ways that film can help us comprehend the ethical significance of complex affective situations.

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Robert Sinnerbrink and Matthew Cipa

arising from it. The ideas shaping Yacavone’s book were first canvassed in an earlier article, “Towards a Theory of Film Worlds” (2008), published in the online journal Film-Philosophy . In that article, Yacavone explored two aspects of film worlds

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Grey Gardens and the Problem of Objectivity

Notes on the Ethics of Observational Documentary

Mathew Abbott

Ethics 3: Documentary/Non-Fiction Film and Ethical Experience (Macquarie University, May 2017), Film-Philosophy (Lancaster University, July 2017), and International Conference on Moving Image and Philosophy (University of Porto, July 2017

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Filippo Contesi

.” American Philosophical Quarterly 51 : 39 – 50 . Shaw , Daniel , ed. 2001 . Special Issue on Horror. Film & Philosophy 4 : 1 – 142 . 10.5840/filmphil2001423 Smuts , Aaron . 2009 . “ Horror .” In The Routledge Companion to Philosophy and

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Naturalizing Aesthetic Experience

The Role of (Liberated) Embodied Simulation

Vittorio Gallese

collaboration with other disciplines such as the history of cinema and the theory of film, philosophy, and other humanistic studies. The final objective must be to discover how to profitably conjugate the experiential dimension through a study of the underlying

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Beyond the Individual Body

Spinoza's Radical Enactivism and You Were Never Really Here

Francesco Sticchi

. 2013 . The Posthuman . Cambridge : Polity Press . Brown , William . 2013 . Supercinema: Film-Philosophy for the Digital Age . Oxford : Berghahn Books . Carocci , Enrico . 2018 . Il Sistema Schermo-Mente: Cinema Narrative e Coinvolgimento

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Joerg Fingerhut

pleasure). It is important to note that expansionism o is a central element that a naturalized film philosophy has to account for. For example, in order to understand that a shot after a cut still pertains to the same, coherent scene we have to have

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Jonathan A. Allan, Chris Haywood, and Frank G. Karioris

. Not only do we wish to publish articles from those disciplines that we are personally familiar with, but we also wish to recognize other ways of thinking and understanding that may include literary studies, art, history, sculpture, film, philosophy